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Document Resume DOCUMENT RESUME ED 377 515 CS 214 685 AUTHOR Lemke, J.L. TITLE Genre as a Strategic Resource PUB DATE Nov 94 NOTE 15p.; Paper presented at theAnnual Meeting of the National Council of Teachersof English (84th, Orlando, FL, November 16-21,1994). PUB TYPE Viewpoints (Opinion/PositionPapers, Essays, etc.) (120) Speeches/ConferencePapers (150) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Language Role; Linguistic Theory; *Literary Criticism; *Literary Genres; *Mass Media; Popular Culture; Secondary Education; Student Needs; Text Structure; Whole Language Approach IDENTIFIERS Educational Issues; *Genre Studies; Narrative Text; Text Factors ABSTRACT The goal of genre theory is to construct useful similarities between different texts. It is the meaning-making practices of a community, and particularly its system of intertextuality that determine which possible similarities will count as significant. Whether educators approach genre as a rule or a resource is a moral choice. Rules restrict, determine, and prescribe. Resources empower. What distinguishes a rule from a resource is that a rule is given to the user, not to be altered by him or her, whereas a resource comes under the power of the user. In this sense, the study of genre does not restrict so much as it empowers. Communication and database interfaces, program conventions, e-mail genres, bulletin board genres, multi-user domains, hypertext navigation, hypermedia authoring--it is not too soon for educators to start thinking about the multimedia genres of these new communications media. They must identify and analyze the essential skills of multimedia literacy. They must also give some thought to the problem of the narrative. Narrative is not a genre in itself, as it is far too general; it could be more accurately described as a discourse strategy. Finally, genre studies raise interesting alternatives between genre-based literacy instruction (popular in Australia) and whole language instruction. While the former is more analytical and less intuitive, the latter is more creative and less critical. (Contains 35 references.)(TB) *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** National Council of Teachers of English Orlando, 1994 U) I''' U) 1 GENRE AS A STRATEGIC RESOURCE r U.S. DEPARTMENT OF EDUCATION CO Once of EducationalResearchandImprovement ci EUCATIONAL RESOURCES INFORMATION CENTER (ERIC) J.L. LEMKE This document has been reproduced as PERMISSIOHN TO REPRODUCE W received from the person or organization City University of New York M'ATERIALAS BEEN GRANTED BTHISY originating it. 0 Minor changes have been made to Brooklyn College School of Education improve reproduction quality. Brooklyn, New York 11210 USA Points of view or opinions stated in this document do not necessarily represent official OERI position or policy. TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC).- Genre as Descriptive Tool Both the literary and the linguistic concepts of genre are extremely useful tools for thinking about how we make meaning with words. If there is a controversy today over the use of genre notions in the school curriculum (e.g. Reid 1987), it is over genre as a prescription for learning or writing rather than over genre as a simple descriptive tool The goal of genre theory is to construct useful similarities between different texts. Any two texts are both alike and unalike in myriad ways. It is the meaning-making practices of a community, andparticu- larly its system of intertextuality (cf. Lemke 1985, 1993a), that determine which possible similarities will count as significant. There are many arounds for saying that one text is somehow relevantfor the interpretation of another (Lemke 1985), and one of these is that the texts are instances of the same genre. Nevertheless, it is unwise to reify the notion of a aenre, to separate it from the meanina-making practices that make it useful, that foreground certain structural and semantic similarities among texts. Genres do not come before texts, they do not determine texts. Genres have the force of any social in- stitution: they constitute a normative order in relation to which we make sense of texts and judge texts. Construing a text as being of a certain genre activates expectations about that text for readers in a particular community. Literary notions of genre range from the formalist to the pop cultur- al. What do all Petrarchan sonnets, all Limericks, all classic Russian folktales (cf. Propp 1928) have in common? And what do all detective mysteries, all science fiction fantasies, all modern romance novels have in common? The notion of genre in literary studies must be more protean and fluid to ground the similarities that define such very different classes of texts. Are there one, or several identifiable genres of autobiography? of the newspapereditorial? of the courtroom jury summation? of the scientific research article? Surely we do not use exactly the same criteria to classify thesedifferent kinds of texts as alike, but just as surely there are some such criteria, ex- plicit or implicit. 2 BEST COPY AVAILABLE Lemke / NCTE: Genre -2- Literary theories of genre focus on similarities in plot and style. The more formalist models emphasize similarities of organization, es- pecially ritualized or routine forms and formulas. "Once upon a time there was.../ And they lived happily ever after." The more pop cul- tural models emphasize the cultural functions of the text as a whole and its numerous conventions, signals to the reader that activate genre expectations. In literary genres the conventions may not be so much organizational or formulaic as simply a set of highly probable combinations of fea- tures, only some of which need occur, and which might occur at many possible points in the text. There are some things we expect in any detective story (a crime, a mystery, more than one plausible suspect, a detective role, a resolution of the mystery, etc.), and some things that might surprise us (extended passages from a novel one of the characters is writing that has nothing to do with the resolution of the mystery, the inclusion of a proof of a mathematical theorem in symbolic notation, the detective role being filled by a two-year old, long passages in stream-of-consciousness style that do not advance or explicate the plot, etc.). None of these is impossible, but they are less likely, less expected. They will be noticed as unusual features and they will have to prove themselves, to justify themselves, or we may judge the text to be inappropriately written or somehow unsatis- factory. Linguistic models of genre, from those more to those less influenced by literary studies (cf. Bakhtin 1986; Hasan 1984, 1989; Martin 1989), have tended to adopt the formalist stance. What texts of these sorts of genres have in common is foremost a similarity of structure, of their functional organization into parts, each of which has an identi- fiable function in the whole, and secondarily similarity of patterning in semantic, lexical, and grammatical choices of forms within these parts. Texts of verbal art are rarely as constrained as these strict linguistic definitions of genre require, but many other kinds of texts in our society are, from bureaucratic forms and documents to technical expositions. In a semantic theory of text (e.g. Halliday 1978; Halliday & Hasan 1989; Lemke 1988, 1994) we recognize that every text is more likely to deploy some of the resources of the language than others simply be- cause it is situated: it is about some topics rather than others, it constructs or acknowledges some relationships between author and reader rather than others, some attitudes of author toward text con- tent, and it is organized suitably for some medium of communication. Insofar as these are invariant for the whole text, we can define a linguistic register (e.g. Gregory 1967, Gregory a Carroll 1978, Hal- liday & Hasan 1989) which characterizes the text. But as we get more specific about each of these features, we realize that texts of any length are semantically inhomogeneous: they shift topic, they take different stances toward readers and content at different points, they may adapt differeatly to their medium, use different strategies of or- ganization. The linguistic notion of genre is just barely adequate to 3 Lemke / NCTE: Genre -3- describe these patterns when they are common to many texts. When they are more unique, as they often are in literary texts, a different ap- proach may be more effective (cf. Gregory & Malcolm on phasal analy- sis) I have tried to make clear some of the uses and limitations of genre as a descriptive tool, because this is the origin and justification of the concept. But now I want to consider some further issues: genre as resource rather than rule, the responsibility to critique genre con- ventions, multimedia genres, and the problem and opportunity of narra- tive as a master genre. Genre as Resource If genre theory only provides us with normative rules that dictate how we must write to be acceptable to someone with the power to make their judgments matter to us, then genre merely mediates a semiotic tyranny. There are those who argue that traditional expository and techaical genres are in themselves useful tools for reasoning, argumentation, and specialist communication. We will examine this position in the next section. There are others who argue that the world is cruel and unjust and we must prepare students to make their way as best they can. Genre conformity becomes either a necessary price to be paid for economic opportunity or perhaps a weapon to be turned against its designers. All these views of aenre, I believe, overlook something subtle, funda- mental, and important about the role of genres in the meaning-making activity of a community. They view genre from the perspective of the choices we make about organization and wording.
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